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A Green Dress: Objects, Memory, and the Museum
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- September 27, 2011—April 8, 2012 (The O’Brian Gallery)
- Do objects remember? Or are they wrapped in the memories we bring to them, like layers of stories folded around a picture, a voice, or a worn-out shoe? In this exhibit, created to complement ひろしま hiroshima by Ishiuchi Miyako, opening in The Audain Gallery on October 13, visitors are invited to experience selected objects and media from MOA’s worldwide collection. Some are ancient, some are new. Some are inscribed with their histories, while others are uprooted – their origins, makers, and journeys erased or forgotten. Some, like the green dress of the title, speak to memories and relationships not contained by the Museum but still part of living communities. Please join us for this intimate, yet revealing, look at the collections, curated by Karen Duffek, Krisztina Laszlo, Carol Mayer, and Susan Rowley.
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The Raven and the First Men
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Plantae Occidentalis: 200 Years of Botanical Art in British Columbia
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- April 17 - September 2, 1979
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Bob Boyer: A Blanket Statement
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- January 19 - April 30, 1988 (Gallery 5)
- A contemporary Metis artist, Bob Boyer draws upon Plains Indian design and images as well as mainstream art forms to create his individualistic style. His paintings on canvasses and flannel blankets, in oils and acrylics, make statements on Canadian Indian history and the native condition today. The third and final exhibition in this phase of the Indian Modern series, sponsored, in part, by the Canada Council.
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Wall of Ravens: The Raven Portrayed in NWC Indian Silkscreen Prints
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- January 13 – March 28, 1980
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Images: Photographic Expressions of the Commonwealth
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- October 13, 1987 - January 3, 1988 (Gallery 5)
- An exhibition of photographs entered for the Commonwealth Photography Award. This project was produced with the assistance of the Standard Chartered Bank.
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Northwest Coast Indian Artists' Guild - 1978 Graphics Collection
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- September 19 - October 15, 1978
- The second annual exhibition of silkscreen prints selected and produced by members of the Northwest Coast Indian Artists’ Guild. A collection of 9 graphics representing the works of: Joe David, Robert Davidson, Roy Hanuse, Gerry Marks, Larry Rosso, Norman Tait, Roy Vickers, and Don Yeomans.
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Transitions: Contemporary Canadian Indian and Inuit Art
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- July 8, 1998 - January 3, 1999
- Including works by twenty-four of some of the most prominent contemporary First Nations and Inuit artists in Canada, this international travelling exhibit originates from Ottawa, and is jointly sponsored by the Department of Foreign Affairs and the Department of International Trade and Indian and Northern Affairs Canada. Curated by Barry Ace of the Indian Art Centre, and July Papatsie of the Inuit Art Centre, the show features such artists as Marianne Nicolson (Kwakwaka’wakw), Jane Ash Poitras (Cree), Lance Belanger (Maliseet), Joane Cardinalas Schubert (Blackfoot), Shelley Niro (Mohawk), Janet Kigusiuq (Baker Lake), and Oviloo Tunnillie (Cape Dorset).
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Heredity: Hereditary Chiefs of the Haida
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- April 28, 1998 - February 21, 1999
- This exhibit comprises eleven photo-based artworks depicting contemporary Haida hereditary chiefs. Accompanied by voice and text layering, this series by artist Todd Tyarm explores the idea of heredity as a virtual link between present and past, as well as to the future. The chiefs depicted in this exhibit are individuals who represent a crucial conduit for their communities to regain the traditional values, practices, languages, and ways of thinking that have shaped their cultural identities from the beginning. The “Heredity” exhibit offers insight into both the heritage of the Haida, and the thoughts, names, and stories of the people who represent its living legacy.
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Celadon: Beyond the Glaze
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- April 3, 2003
- Student exhibition: This year’s class of Anthropology 432 students are looking at celadon (a variety of ceramic glazes that range in colour from grey-green to blue-green to jade-green) through the eyes of the potter, the art historian, the anthropologist, and the geologist. The exhibition features contemporary and historic ceramics from the museum’s collections.
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Acts of Transformation: From War Toys to Peace Art
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- June 20 - December 31, 2006
- In June 2006, the World Peace Forum and the International Peace Education Conference took place in Vancouver. In response to these important events, MOA partnered with the BC Teachers Federation to present an exhibit dedicated to the ideals of peace. The exhibit features toys of violence transformed into objects of art by BC students, teachers, artists, and activists. The exhibit celebrates the six principles of UNESCO's Manifesto 2000: the need to respect all life, reject violence, share with others, listen to understand, preserve the planet, and rediscover solidarity.
- Developed in collaboration with BC Schools.
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Man Ray, African Art and the Modernist Lens
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- 29 October, 2010 - January 23, 2011
- Man Ray, African Art, and the Modernist Lens brings to light photographs of African objects by American artist Man Ray (1890-1976) produced over a period of almost twenty years. In addition to providing fresh insight into Man Ray’s photographic practice, the exhibition raises questions concerning the representation, reception, and perception of African art as mediated by the camera lens. Curated by Wendy Grossman, the exhibition frames the objects and images within diverse contexts, including the Harlem Renaissance, Surrealism, and the worlds of high fashion and popular culture.
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Inuit Prints: Japanese Inspiration
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- James Houston, Un’ichi Hiratsuka and the Inuit Print Tradition
- 19 June - 25 September, 2011 (The Audain Gallery)
- This exhibition features exquisite and extraordinarily rare prints from Japan and Cape Dorset, Nunavut, from the late 1950s and early 1960s. It also tells the little-known story of how, fifty years ago, the Canadian artist and “discoverer” of Inuit art, James Houston, travelled to Japan to study printmaking with Un’ichi Hiratsuka. An esteemed Japanese printmaker, teacher and champion of Japan’s “Creative Print” Movement (sōsaku hanga), Hiratsuka taught Houston a variety of direct transfer print techniques. With Japanese prints and tools in hand, Houston returned to the Canadian Arctic and resumed work alongside the five original Inuit printmakers — Osuitok Ipeelee, Iyola Kingwatsiak, Lukta Qiatsuk, Kananginak Pootoogook and Eegyvudluk Pootoogook. Their studio produced its first annual collection and released it to the public in January 1960. Since then, art collectors around the world have been continually surprised by Cape Dorset’s fresh, imaginative and original artworks on paper. It is an incomparable artistic legacy in Canada. Inuit Prints: James Houston, Un’ichi Hiratsuka and the Inuit Print Tradition is the first systematic inquiry into the Japanese influences on the early years of the Cape Dorset print studio. By juxtaposing the earliest Cape Dorset prints with the actual Japanese prints that inspired the Inuit printmakers in 1959, the exhibition examines the many ways in which the Cape Dorset artists creatively “localized” Japanese influences. This exhibition tells a much different story than is commonly associated with Inuit art, which is a romantic story about faraway people living in an enclaved, remote world. The complex connectivity that unites Japanese and Inuit printmakers through the intermediary work of James Houston is a story about globalization, cultural translation, travel and modernity — characteristics that define our present age. Exhibition organized by the Canadian Museum of Civilization with the assistance of the West Baffin Eskimo Co-operative in Cape Dorset.
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Visions of Enlightenment: Buddhist Art at MOA
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- May 10 - September 30, 2012 (The O'Brian Gallery)
- As Buddhism spread across Asia, symbols and sacred images developed to represent the Buddha and illuminate his teachings. These images offer the devotee and viewer both consistency in the forms of Buddhist art, and a vast array of subtle and obvious differences. The latter illuminate the variety of rituals, religious texts, and beliefs generated over time, culture, and geography. They offer a window into Buddhist philosophy, aesthetics and values, combining beauty and meaning. Works of art in the exhibition focus on basic Buddhist concepts and images, and reflect the purpose of Buddhist art: why it is made, who made it, for whom, and how it is used; for example, in teaching, facilitating meditation, gaining merit, and for devotional purposes. Exhibit content reflects the Three Treasures of Buddhism, that is the Buddha, the Dharma (Teaching), and the Sangha (Community). Also described is the role of the bodhisattva and expressions of Buddhist practice, such as obtaining merit and devotion. The exhibit will decode the meaning of representations in Buddhist art, such as hand gestures and the attributes associated with various images. The objects on display illustrate the primary images found in Buddhist art, and offer viewers a varied visual experience, from an early 5th century Gandharan sculpture, to a Zen painting. A range of media will be represented, including sculptures (made of stone, metal or lacquered wood) paintings, ceramics, manuscripts, and textiles. These will be drawn from MOA's Asian collection, as well as from private lenders in British Columbia and from the collection of the Art Gallery of Greater Victoria. Visions of Enlightenment will show examples of Buddhist art from the main Buddhist traditions: the Theravada, Mahayana and Vajrayana. In Vancouver, the latter traditions are well represented in the established Chinese, Japanese, Korean and Tibetan communities. The Theravada school represents the traditions of the Burmese, Thai and other Southeast Asian communities. The exhibition is guest curated by Paula Swart, who has been associated with the Museum of Anthropology as Adjunct Curator (Asia) since 2009. She teaches in the University of Victoria Continuing Studies Department, and has lectured on National Geographic Society expeditions to Asia. Additional curatorial advice is provided by Margo Palmer, current Director of the Canadian Society for Asian Arts. The Society promotes the arts and cultures of Asia through lectures, cultural events, exhibits, and educational programs. MOA Liaison curator is Dr. Carol E. Mayer, Curator Africa/Oceania. MOA Designer is Skooker Broome. Visions of Enlightenment is organized by MOA, and supported in part by the Canadian Society of Asian Arts, Bank of Montreal, and Tung Lin Kok Yuen Canada Foundation. Media Sponsor is the Georgia Straight.
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Luminescence: the Silver of Peru
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- October 4 - December 16, 2012 (The Audain Gallery)
- Bursts of bright light danced across the royal courts, ceremonies, processions and battlefields of pre-Columbian Peru. Reflected by the gold and silver of crowns, jewelry, regalia, costumes and banners, such luminosity proclaimed the divine power and authority of Andean priests and rulers for nearly 2,500 years. Despite the 16th century Spanish Conquest, the importance of the reflective properties, and divine qualities traditionally associated with gold and silver, were not forgotten. New techniques were developed to satisfy the novel demands of the Catholic Church and colonial elite. Later, Peruvian Independence inaugurated a revival of the indigenous use of silver, and the introduction of a new style of silverware celebrating the country’s distinct flora and fauna. Luminescence: the Silver of Peru traces the long history of silverwork and the fascination with the metal’s divine and luminescent qualities. It will display pre-Columbian works to those made by contemporary artists, including national treasures seldom seen outside of Peru. The exhibition is curated by MOA Director Dr. Anthony Shelton, and made possible through the generous support of the Pan American Silver Corp. and the Patronato Plata del Peru.
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Paradise Lost? Contemporary Works from the Pacific
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- July 24 - September 29, 2013
- July 24 – August 31, 2013 (Satellite Gallery)
- The Pacific Islands occupy a place in the Western imagination as a paradise filled with idyllic beaches and lush, tropical landscapes inhabited by dusky maidens. With historical precedents in the accounts of European explorers, these perceptions were later re-invented and popularized by Hollywood films in the 1920s through the ’50s. Contemporary artists from the Pacific Islands frequently play with and invert such perceptions, and their work provides an alternate, more complex vision of the region. Paradise Lost?: Contemporary Works from the Pacific features works by artists from Fiji, New Zealand, Papua New Guinea, Samoa, Solomon Islands, and Vanuatu. Working in video, installation, sculpture, painting, and photography, the artists show the Pacific Islands from an insider’s perspective. Their artworks explore environmental concerns, cultural heritage issues, questions relating to the experience of migration and diaspora, and the intersection of Indigenous belief systems and Western religions. The artists featured are George Nuku, Te Rongo Kirkwood, Greg Semu, Pax Jakupa Jr., Michael Timbin, Tom Deko, Cathy Kata, Shigeyuki Kihara, Ralph Regenvanu, Rosanna Raymond, Moses Jobo, Eric Natuoivi, and David Ambong. Curated by Dr. Carol Mayer (Curator, Africa/Pacific), and organized to coincide with the Pacific Arts Association Symposium at MOA, the exhibition will feature works displayed throughout MOA’s public spaces and at our downtown Satellite Gallery.
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Claiming Space: Voices of Urban Aboriginal Youth
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- June 1, 2014 - January 4, 2015 (O'Brian Gallery)
- Claiming Space: Voices of Urban Aboriginal Youth looks at the diverse ways urban Aboriginal youth are asserting their identity and affirming their relationship to both urban spaces and ancestral territories. Unfiltered and unapologetic, over 20 young artists from across Canada, the US, and around the world define what it really means to be an urban Aboriginal youth today. In doing so they challenge centuries of stereotyping and assimilation policies. This exhibit will leave visitors with the understanding that today's urban Aboriginal youth are not only acutely aware of the ongoing impacts of colonization, but are also creatively engaging with decolonizing movements through new media, film, fashion, photography, painting, performance, creative writing and traditional art forms. Artists in the exhibition include Alison Bremner (Tlingit), Deanna Bittern (Ojibwe), Jamie Blankenship-Attig (Nlaka’pamux, Secwepemc, Nez Perce, Muskoday Cree), Kelli Clifton (Tsimshian), Jeneen Frei Njootli (Vuntut Gwitchin), Ippiksaut Friesen (Inuit), Clifton Guthrie (Tsimshian), Cody Lecoy (Okanagan/Esquimalt), Arizona Leger (Fijian, Samoan, Tongan, Maori), Danielle Morsette (Stó:lō /Suquamish), Ellena Neel (Kwakwaka'wakw/Ahousaht), Zach Soakai (Tongan, Samoan), Diamond Point (Musqueam), Crystal Smith de Molina (Git’ga’at), Nola Naera (Maori), Kelsey Sparrow (Musqueam/Anishinabe), Cole Speck (Kwakwaka'wakw), Rose Stiffarm ((Siksika Blackfoot, Chippewa Cree, Tsartlip Saanich, Cowichan, A'aninin, Nakoda, French, & Scottish), Taleetha Tait (Wet’suwet’en), Marja Bål Nango (Sámi, Norway), Harry Brown (Kwakwaka'wakw), Anna McKenzie (Opaskwayak Cree, Manitoba), Sarah Yankoo (Austrian, Scottish, Algonquin, Irish and Romanian), Raymond Caplin (Mi’gmac), Emilio Wawatie (Anishanabe) and the Northern Collection (Toombz/Shane Kelsey [Mohawk], and the Curse/Cory Golder [Mi’maq]). Also included are works from the Urban Native Youth Association, Musqueam youth and the Native Youth Program.
- CURATOR: Pam Brown (Heiltsuk Nation), Pacific Northwest, and Curatorial Assistant Elle-Máijá Tailfeathers (Blackfoot, Blood Reserve/Sami, northern Norway).
- The exhibition is made possible through the generous support of the Vancouver Foundation.
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Amazonia: The Rights of Nature
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- March 10, 2017 - January 28, 2018
- CURATOR: Nuno Porto
- MOA will showcase its Amazonian collections in a significant exploration of socially and environmentally-conscious notions intrinsic to indigenous South American cultures, which have recently become innovations in International Law. These are foundational to the notions of Rights of Nature, and they have been consolidating in the nine countries that share responsibilities over the Amazonian basin. These depart from a social philosophy, known in Spanish as “buen vivir”, in which the concept of a good life proposes a holistic approach to development that intertwines notions of unity, equality, dignity, reciprocity, social and gender equality – a rallying cry to move beyond Western ideals and practices of development and progress largely measured by profit. Curated by Dr. Nuno Porto (MOA Curator, Africa and Latin America), Amazonia: The Rights of Nature will feature Amazonian works of basketry, textiles, carvings, feather works and ceramics both of everyday and of ceremonial use, representing Indigenous, Maroon and white settler communities that today articulate against the threats caused by political violence, mining, oil and gas exploration, industrial agriculture, forest fires, road building and hydroelectric plants. Challenging visitors to examine their own notions towards holistic wellbeing, the exhibition will cover more than 100 years of unsuspected relationships between Vancouver and Amazonian peoples, ideas and their struggles.
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Seeing is Believing: Photographs from the Archives
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- 2007
- There are more than 90,000 historic photographs in the Archives at the Museum of Anthropology. The collection is worldwide, covers a multitude of subjects, and dates from the early 1900s to the present day. This exhibit reveals only a tiny portion of this hidden gem, yet hints at the remarkable potential of this collection for scholars, researchers, and visitors. Geographically, the collection includes images from the Northwest Coast of British Columbia, the Southwest United States, South America, and various areas of Asia, Oceania and Africa. Institutionally, the collection documents the people and events that were instrumental in the history and growth of the Museum.
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Playing With Fire: Ceramics of the Extraordinary
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- November 22, 2019 – March 29, 2020
- Curator: Carol E. Mayer
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